It looks like you're new here. If you want to get involved, click one of these buttons!
^ Back to Top
The MI6 Community is unofficial and in no way associated or linked with EON Productions, MGM, Sony Pictures, Activision or Ian Fleming Publications. Any views expressed on this website are of the individual members and do not necessarily reflect those of the Community owners. Any video or images displayed in topics on MI6 Community are embedded by users from third party sites and as such MI6 Community and its owners take no responsibility for this material.
James Bond News • James Bond Articles • James Bond Magazine
Comments
It's fantastic...and well-timed.
I remember that one of trailers for SP included a little bit of Barry's OHMSS. People loved it. I think there is a warming to using some of the old musical cues.
And "Dirty Love" from LTK as well!
The only stuff that sprung out where the Barry cues from OHMSS. I'm pretty sure the theme that plays when Bond is skulking around Saffin's lair was actually lifted from The Dark Knight Rises.
Imagine finally realising that a journeyman like David Arnold can do better Bond soundtracks than Hans Zimmer or Thomas Newman. What a curious world we live in.
(a bit of fun)
1. Where’s the blood? (Gun Barrel)
2. Can we go faster? (Matera)
3. Sheep on the loose! (Message from an Old Friend)
4. Go Nuts for Doughnuts (Square Escape)
5. Fishing for Adventure (Someone Was Here)
6. Old Wrecks (Not What I Expected)
7. Bag of Bees (What Have You Done?)
8. Three Weeks Training (Shouldn’t We Get To Know Each Other First)
9. Blink and You’ll Miss Her (Cuba Chase)
10. How do I afford these? (Back to MI6)
11. Out of Ideas (Good to Have You Back)
12. Wavy Hands (Lovely to See You Again)
13. Slinky-ing around (Home)
14. Dou Dou Dash (Norway Chase)
15. Valhalla Howls (Gearing Up)
16. Remembered the Villain (Poison Garden)
17. Gravity isnt your friend (The Factory)
18. The Bond Knight Rises (I’ll be right back)
19. Blow Your Mind (Opening the Doors)
20. I said “one last time“ and I meant it (Final Ascent)
:))
https://open.spotify.com/playlist/5VmRp6R6pfrco4tRlaiSAp?si=c3df8be0aeae4819
based on this article;
https://vaguevisages.com/2021/11/11/no-time-to-die-soundtrack-songs/
David Arnold is missed.....his work really helped QoS make up for its lack of dialogue and by that time, Arnold had truly strengthened his ability to convey emotion through his musical scoring.
That said, I also loved what Newman brought to the table so abuse me as you will. Just know my taste is more sophisticated than yours if you do. 😏
I love Zimmer's updated powerful version of the Bond theme from NTTD though, when it flows out of the Cuba Chase, the hairs on my back of my neck stood up. I love Not What I Expected as well
LOL.
You might be right....but please defend or elaborate Thomas Newman's contributions. Both he and Hans Zimmer used repetitive simplistic tunes with
lots of percussion....again, defend Newman and without bringing up the drive to Skyfall score (he was good on that piece).
Now to his romance themes, which are some of the best listens in the franchise. His themes for Madeleine in particular do a lot of the work that is missing in the writing for the two characters’ supposed love story. I’ve made peace with Zimmer for not carrying them through since I enjoyed his NTTD score so much but I can go into that another time.
I believe Mendes made a comment that Newman’s score for SP is more confident, and when the material isn’t recycled from SF I’ll completely give him that. I could find gripes with the scenes where Newman was persuaded into re-using cues from SF, sure - but let’s be honest; the music is the least of those scene’s problems. And I 100% love listening to his expansion of “The Moors” even if it doesn’t make much thematic sense.
Another thing worth mentioning - his sense of drive & atmosphere in general. The chilling vibes of “Shanghai Drive”, “Someone Usually Dies” & “Silver Wraith” for a few examples. To me they are quite a bit more thoughtful & sophisticated to Arnold’s scoring of similar scenes. I’ll say that Arnold’s score for QOS showed a certain restraint that I imagine was due to the influence of Marc Forster but his action cues were still largely a kitchen sink mess. Zimmer & Mazzaro took a lot of the best of both worlds of Arnold & Newman for their score and finally mastered the action music at the end of Craig’s era.
Great analysis! I personally find it hard to get through Newman's SP score. It's very nuanced and atmospheric, but not a pleasurable listen separate from the film. I can still listen to Skyfall's score as it has a more diverse track list and the first half especially feels like a breath of fresh air.
If looking at the Craig era as a whole, I'm increasingly feeling that it's a rich era musically, capturing Arnold's best works, the modern and atmospheric efforts of Newman, and going out with Zimmer's referential and bombastic score.
Guys, you are aware, that Barry got several nominations and actually won five Oscars. Not for a Bond soundtrack, though. That Sam Smith won an Oscar for his cringeworthy sobbin and falsetto-crying "song", might have been a blow to Barry, had he lived to listen to it, but he had passed away some years earlier.
This is partly why Barry was fine not returning to Bond after TLD. He didn’t need Bond anymore. He had 12 Bond movies under his belt. THAT is a lot of Bond.
And of course he infamously dismissed the post-60s Bond films that had Moore and Dalton. I guess he started to think he was “above” Bond. This explains his attitude when Brad Bird wanted him to return to the 60s Bond style for THE INCREDIBLES and Barry brushed that off saying “I can do that in my sleep”.
Brilliant. Hilarious! :-h \:D/ :bz
It's a Klassiker. In Dschörmänie we call it a Klassiker.
Being dead does have its benefits.
Indeed. In that case most certainly.
Spinning in his grave must have been dizzying, though.
I've always been fascinated by Barry's career from the nineties onwards. Between the music he composed in that era, and the account of his agent, Richard Kraft, on what happened on The Incredibles, it seems he was tired of the loud Bond music, and I get the feeling he was trying to reach greater emotional depths within his by now well-developed melancholic style. Although what he did in that period wasn't a radical change for him, I do feel he succeeded to some extent, especially in the album The Beyondness of Things. Those massive string sections he employed in that period, with more reverb than ever before, have a special warmth, a glow to them. To borrow a phrase, in the nineties, Barry was in the "moody twilight of (his artistic) obsessions."
The Bond producers think that raiding Hollywood's A-list talent will yield great Bond movies instead of hiring people who actually know how to make Bond movies.
@slide_99 ,have you seen the last film? Cary knows how to write AND direct a Bond film.